Comentarios a sentencias de unificación de doctrina

Songs promoting personal values such as self-esteem and self-affirmation were prioritised by two of the interviewed teachers. All of those surveyed incorporated cross-arts practices in their music teaching, in line with government requirements.31 For example, “The Arts subjects are also interconnected, particularly through hybrid (combinations) and contemporary arts. The curriculum enables exploration of the dynamic relationships between Arts subjects” (ACARA, 2013, p. 3).

The inclusion of inter-disciplinary practices in the curricula discussed by the interviewed teachers was in accord with VELS and AusVELS requirements. VELS provides many examples of inter-disciplinary teaching. For example, in linking music and humanities “students might also!: talk about how and why the musical traditions

of the other cultures they experience are different from their own!: participate as

audience and performer in music for celebrations such as a cultural festival for the LOTE they are learning” (VELS, 2005 Level 1, p.3). Furthermore, the respondents’ inclusion of computer devices and web resources within their music programs fulfilled the technological requirements of the AusVELS and ACARA statements. Government documents encourage the use of information technology at all levels of the primary curriculum, such as the “use of innovative arts practices and available and emerging technologies to express ideas and develop empathy with multiple viewpoints” (ACARA, 2013, p. 1).

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The preference for songs dealing with student concerns and promoting self- esteem is entirely in keeping with the interpersonal requirements of the government curriculum statements. The findings promote arguments for the provision of compositions that fulfil extra-musical pedagogical functions, such as a capacity to address cross-arts, interdisciplinary, information technology, and interpersonal requirements within the curriculum.

The pedagogical philosophies and methods employed by the teachers interviewed in this study frequently reflect aspects of their own musical training. These pedagogues teach music notational literacy in lower primary levels, and classroom instruments and ensembles in the higher grades. Their teaching methods mostly aligned with Orff techniques, while two teachers employed the Kodaly method in lower primary classes. They described their needs for compositions that fulfil an extensive array of musical and pedagogical characteristics and functions. The interviewees referred to musical attributes such as the range, style, genre, number, and level of difficulty of parts in scores. They described the requirements of the musical functions, such as the inclusion of physicality—instrument playing and movement—and the suitability of the pieces for beginner recorder and guitar ensembles.

Favourable pedagogical characteristics included the provision of recordings and teaching notes, while others mentioned the important pedagogical function of messages of well-being in the texts of songs. The compositions must also comply with the official curriculum requirements for primary classroom, singing, choral and instrumental programs. A comprehensive summary of the findings from interviews related to musical and pedagogical characteristics and functions of compositions is included in the Summary of Part Two on page 87. A description of the ways in which the folio of original compositions responds to, and addresses each category is also included.

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CHAPTER FOUR: COMPOSER INTERVIEWS

In a similar manner to the teacher interviews, this chapter presents a qualitative analysis of semi-structured interviews undertaken with composers of music for primary education settings. The commentary begins by outlining details regarding the composers’ musical and pedagogical training. Since four out of the five interviewed composers were not employed as teachers, the discussion of school- related matters such as curriculum, length of sessions, and associated duties was not addressed.

The main objective of the interviews with composers was to ascertain specific information concerning the characteristics of pieces composed for primary school children; for example the pedagogical focus, length, style, keys, or messages conveyed in the song texts. Such information was found to be almost entirely absent in the literature. Through a process of coding each musical or pedagogical aspect discussed, it was possible to determine both the strengths and the underrepresented qualities within each category. The findings served to locate the effective or desirable features, as well as the ineffective or absent components of these composers’ works in the context of the compositional needs identified within the teacher interviews.

With respect to the research question, the first part of the interview established the level of the composers’ authority and understanding of the phenomenon under investigation, and their commensurate ability to compose music appropriate to primary music education environments. The questions pertaining to this issue were:

1.a. Describe your training in musical composition for children?

1.b. How many years have you been a composing educational music for children?

The interview findings were analysed under four category headings in a similar manner to the teacher interviews: musical attributes, musical functions, pedagogical characteristics and pedagogical functions. These categories enabled the analysis to “drill down” into the data, and to differentiate musical as opposed to pedagogical attributes, such as keys, time signatures, and styles in the former category, and the manner of presentation of the compositions as teaching resources in

74 the latter. Likewise, the categories enabled the data analysis to separate the musical and pedagogical goals of the compositions, such as their intention for vocal, ensemble, classroom or concert performance in the first instance, or their role in addressing cross-arts, or cross-disciplinary curriculum requirements in the second.

In order to extract information pertaining to each category, the composers’ responses were subjected to a cross-sectional analysis. Examples of compositional features identified under each category heading include:

Table 16. Categories of compositional qualities identified within the composer interview responses

The questions pertaining to compositional features were:

1.c. What contexts influence your original music? For instance, do you create compositions for concert items, classroom instrumental and/or singing?

1.d. What else are you trying to convey in your compositions for primary school students?

1.e. What levels of ability do you cater for in your compositions for these educational contexts?

2.a. What criteria govern the selection of text to be set to music in primary educational contexts?

2.c.What criteria or features are common to pieces that have been successful in an educational context?

2.d. What do you want teachers and primary school students to gain from

Categories Examples of compositional characteristics identified within the interview responses.

1 Musical

attributes Style preferences such as jazz, rock or ballads, as well as key, rhythm, length, and subject matter of song lyrics. 2 Musical

functions The suitability of the compositions in Kodaly music literacy programs, or in other methodologies such as Orff. The music’s usefulness in marimba, recorder, classroom singing and

instrumental programs, and for choral ensembles. 3 Pedagogical

characteristics

The amount of classroom resources, time frame, age range and skill level required for teaching or learning the compositions. The provision of scores, chord charts, recordings, and other teaching aids.

4 Pedagogical

goals Achievable musical and extra-musical teaching/learning outcomes, such as scope for student contribution, physicality and active engagement.

75 learning and performing your compositions?

2.e. What is the most challenging aspect or aspects of composing for primary school students? How might those challenges be remedied?

3.a. How do you deal with the phenomenon of peer music culture in your compositions?

3.b. Are there any further comments you’d like to add about composing for primary school students?

Composers surveyed within this project were selected upon the basis of several criteria, including their primary teaching qualifications, extensive experience either as a teacher or as a presenter of professional development training for primary school music teachers, and a widely recognised body of compositions utilised within primary school education. Advanced levels of musical training in childhood and within tertiary education were features common to all of the composers surveyed. Four of the five composers commenced composing educational resources in the late 1980s or early 1990s when there were few Australian teaching materials suitable for use in Orff-style classroom teaching programs. The fifth composer began writing educational music in the last ten years, after being inspired by ground-breaking work undertaken by another composer interviewed within this study. Workshops and conferences conducted by the Victorian Orff Schulwerk Association (VOSA) are crucial points of intersection for composers and teachers. The Orff Association promotes and sells the resources of local composers and educators that otherwise might not be published and sold. The interviewed teachers are all regular workshop participants.

Only two of the five composers had taught full-time in primary and secondary schools for more than a few years. Composers with little direct teaching experience spoke of wanting to flex their creative and instrumental muscles, and to be able to work with school children according to their own musical agenda, rather than those mandated by the requirements of schools. These composers have continued to work with young children as sessional presenters, while four of the composers have taught extensively in university education faculties.

This research also suggests materials by these composers are frequently employed as pedagogic resources in tertiary programs pertaining to primary school

76 music teacher training. The interview responses indicate that the success of their works is largely a result of their own efforts as performers and marketers in a range of music education forums. All of the surveyed composers publish independently. The Australian Orff Schulwerk and Kodaly Associations are major retailers of their resources. Furthermore, they all presented their compositions and pedagogical practices as visiting artists in schools throughout Australia and overseas. Performing the works to teachers and children was generally regarded as essential in the successful promotion of the music.